A perfect footage and excellent camera work can lose power when there is no sound accompanying it. I have come across a couple of films that I lost my tastebuds just because of bad sound.

The first project for this class is sound replacement for a horror film trailer “A Quiet Place 2”, which is a 2020 movie and yet to be released. The trailer has some interesting aspects both loud and quiet. The challenge here now is to redo the sound on the trailer.

On 24/02/2020 had the Neve studio booked to do sound replacement exercise by recording the sounds that would compliment the trailer. We booked 2 condenser microphones the Rode NT2 and Rode shotgun for recording our sounds. Roy, Clement, Jo and Ron brought in some stuff from home to so that we create sounds from. I would say this was an exciting exercise but yet critical particularly on brainstorming and selecting the equipment to create sounds that would make sense and compliment the video.

We all do have different workflows, the one thing I discovered was that during our recording the recorded clips were not named. I do prefer having track named so it it makes easy to manage files and identifying. Sound design is pretty heavy when it comes to looking for sounds that are not named properly. Interestingly the trailer is just 2 minutes of play but the amount of work required is pretty much a lot. Meaning to say if I was to do sound design for a full movie then that is pretty intense. Attention to detail is very important on recording foley. Things like gain structure play a major role when recording and sound levels must be excellent to avoid clipping. Guy Gray always insists that a good recording helps with easy mixing and mastering.

The most interesting recording to me was the crackling of dry leaves to imitate fire crackles for a particular scene. We used a Rode NTG2 shotgun mic but at a distance of a meter. With the same leaves we also created corn filed leaves rustling for another scene and this time we loosened the leaves to imitate the wind rushing the dry corn leaves.

All this experience gave me a new lease of life on my desire to be a sound designer. The more I practise and create sounds the better I become in this field. I have learnt that brainstorming is an essential tool towards creating foley.

Cross, M. (2013). Audio post production for film and television(J. Feist, Ed.). Boston: Berklee Press.

Franinović, K., & Serafin, S. (Eds.). (2013). Sonic interaction design. Cambridge, Mass.: MIT Press

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